SN: The nonprofit that publishes Cabinet was founded in 1999 by artist Brian Conley and myself, and the first issue appeared in December 2000. The magazine has remained pretty much consistent since. Some of our regular columns have changed, but we've more or less had a similar mix of interviews, artist projects, and essays by artists, writers, and academics. There's a catchall section, a set of columns, the occasional audio CD, and a themed section. Past themes have ranged from the concrete, such as "Animals" or "Horticulture," to abstract notions with a long lineage in philosophy, such as "Evil" or "Chance," to topics that ought to have a sociology but don't — for example, "the Enemy," where there is no such thing as Enemy Studies and no one great book that examines how we've thought about the enemy historically.

AK: What is Cabinet's mission?

SN:Cabinet was founded around three distinct missions, which we hope resonate productively against each other. First, we wanted to have a magazine that reflected how artists thought about the world around them and had the same diverse subjects that you might find on the bookshelves of artists today. That's why a history of urban warfare is as likely to appear in our pages as a history of the doughnut; we call ourselves an "art and culture" magazine, but we try to operate with as expansive a definition of those words as possible. The exuberance that artists bring to their work is something we wanted to have in the magazine, and we're not afraid of having the serious next to the humorous or even the absurd, even though some people imagine this means that the serious is not being taken seriously — we obviously disagree! Another characteristic of this approach is that it is less concerned with judging what is good or bad or with policing the boundary between in or out; rather, it's about trying to better understand the ambient culture. Our gambit is that this better understanding is always "critical" in that it helps reveal the contingencies behind the world as it exists today and that knowing things could have been different is crucial for believing that things can be changed for the better.

The exhibition "HUS"("HOUSE" in english) at Helsingør libary will be showing individual works of art by TTC in form of collage and photos. The project is a research of identity and space, that will focus on social structures, rituals and values that is related to the way we live today, this is both in a historical perspective and with focus on the factors that will shape tomorrows way of living.

Under what circumstances exist the phenomenon "to live" and why do we choose the space we surround ourself with?The exhibition will run until the 9th of May.

Paper Kills Trees began as a zine made in Berlin and scattered across comic and art bookshops in Hamburg, Prague, Warsaw, Copenhagen, Milwaukee, Portland, Seattle and of course, Berlin.

Issue #2! is bigger. A magazine. That thirty-some artists reared in Austria, Belgium, Finland, France, Germany, Greece, Romania, Mexico, Peru, the UK, or the US poured themselves into. They are afraid of water, squares, their eyes falling out of their faces, and deer running straight for them. Most of them are young, children of the 80s with MySpace profiles who still lust over ink on paper. Their work has adorned art gallery walls and antagonized the bowels of photocopy machines. They are deviants, melting down the cutting edge to paint the dripping wreckage.

It's also interviews. In brief (sort of)-> fukt’s björn hegardt writes about white cubes and the best city for poor artists (yes, it’s still berlin)-> ADIOS’ KONSTA OJALA WRITES ABOUT HOMEMADE BOOZE, EVICTIONS, AND STYROFOAM SNAKES-> kuti’s pauliina mäkelä writes about taidesarjakuva, mainstream garbage, and psychedelic art bullshit-> DIAMOND’S JASON LEIVIAN WRITES ABOUT DIAMONDS, SKULLS, AND RAINBOWS, WITCHBLADES AND NIGHTWINGS, AND BEING DISSED BY THE COMICS JOURNAL-> aooleu’s milos writes about corruption, smuggling, and space-> STEFFI OF DIARY WRITES ABOUT “TRYING TO HIDE, HEADPHONES ON, DIVING IN CROWDS OF PEOPLE,” FLEEING EAST GERMANY, AND PLASTIC PUMP-GUNS-> sarah magazine’s namesake describes going under the knife, hanging out with otolaryngologists, and her sonic voyage of discovery-> INDIAN JEWELRY’S TEX KERSCHEN WRITES ABOUT WASTOIDS, POST-COCAINE BINGE HANGOVER AMERICA, AND BUGGING THE SHIT OUT OF PEA-BRAINS-> berlin street artist chin chin writes about death rabbits, frog men, and other things that are kind of cute but kind of scary-> HARMONY CHEYENNE FLYNN MOLINA WRITES ABOUT LIVING IN A BOX WITH THREE CHICKENS AND A STRIPPER POLE-> paris street artists leo + pipo write about the naivety of the polaroid, the dying graffiti scene, and not getting caught-> SMITTEKILDE’S ZVEN BALSLEV WRITES ABOUT SICK DOGS, NARROW-MINDED DANES, DROOLING MALE NERDS, AND FLYING KITES-> soyfriends’ rui tenreiro writes about paypal, prefering the ugly, and staple fatigue-> LE DERNIER CRI’S PAKITO BOLINA WRITES ABOUT SQUATTING IN PARIS, DRAWING LAMA FETUSES IN BOLIVIA, LONDON’S OBSCENITY POLICE, AND THE NIGHTMARE THAT IS “THE LAST SCREAM”-> plin tub’s elzo durt writes about brussels, serigraphy, underground art, and promoting beauty at all costs-> KAUGUMMI’S BARTOLOMÉ SANSON WRITES IN HIS NATIVE LANGUAGE ABOUT FRANCE’S DIY CULTURE, A GERMAN WORD THAT SOUNDS JAPANESE, AND WHY YOU SHOULD MOVE TO RENNES-> boing being’s tommi musturi writes about huuda huuda, the final glömp, and a penis named jack

Want to contribute or advertise? Then email me at killstrees@gmail.com. Vielen Dank.